Andréia Kaláboa

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1970. Beatriz is an 18-year-old student. She is detained by the military dictatorship in Curitiba, Brazil, and tortured for ten days accused of belonging to the subversive student movement and an armed guerrilla that fights against the regime, VAR-Palmares.

Amélia begins to sing in her husband's church, Preacher Sérgio, and from then on she becomes aware of her annulment and servitude. Through her fantasies, she recognizes herself as a woman and recovers her own voice.

Boris, a young gamer, is sent to spend a few days in the countryside of Paraná with his grandfather Stanislau, the leader of a Ukrainian community. Their meeting reveals a clash between the digital world and tradition, giving rise to a transformative relationship about family, belonging, and true connection.

Adam is a lonely boy who tries to play with other kids... However, the only real friend Adam has seems to belong to his imagination.

Pablo and Miguel, from Las Varillas, see each other after many years in La Cumbre when they are both on vacation with their partners. Secrets will come to light when Pablo's wife discovers why Miguel's presence bothers her husband so much.

Guto was born in a colony of Ukrainian immigrants in Paraná. He left his parents' home when he was just 11 years old. The family split up over cultural and religious issues. Thirty years later, he returns to his home village to reconnect with his past.

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In 1942, Ivan Boyko was expelled from his native village in the Ternopil region to forced labor in Germany. In 1948, he emigrated to Brazil and never returned, but he remained faithful to his country's cultural traditions through music. The film documents the return of 91-year-old Ivan to his homeland after 68 years of separation, where he visits his relatives and his native village. The visual and sound images that emerge from reading Ivan's diaries relay his own experience of emigrant life, conveying the bitterness of building a new life in a foreign land. Starring Ivan Boyko himself.

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From a peculiar narrative, “Esperanza” builds a subtle and simple allegory about the phenomenon of immigration of people from other South American countries to Brazil, in a relationship that reveals places of approximation, but also historical and dramaturgical spaces that point to the effects of a certain imperialism that surrounds such processes. All this concentrated in the suffocated atmosphere of the protagonist.

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A view from the people of Curitiba about their city.

A historical overview of Ukrainian immigration, from the arrival of the first immigrants to the present day, showing how the immigrants have kept all their traditions and customs alive in Brazil.